Bakor Putek

In Assamese folk belief the Bak is an evil spirit living in water, fond of fish, which is thought able to kill a person and take on their form. The hero Powal is suspected by the villagers of having been killed by the Bak, which then took his shape to live as husband to the heroine Padma. On this suspicion the couple's child is called the Bak's son.

Padma and Powal have to endure harassment from society. The heart of the film is the heroine's struggle against blind belief, slander and hatred.

Chandra Mudoi wrote the story and screenplay and directed the film, which Amal Barua produced. It uses a good deal of special effects and was shot in interior parts of Morigaon and nearby areas. Two cameras were used, a Red camera operated by Satya Prakash Rauth of Mumbai and a Steadicam handled by Vedanta Chamua, a young Assamese man based in Mumbai. This was the first time a Steadicam had been used in an Assamese film.

Chandra Mudoi and Dr Hitesh Barua shared the music duties. Zubeen Garg, Priyanka Bharali and Tarali Sharma sang. Prasenjit Baruah was production controller, and Prangjul Kashyap edited at Jyoti Chitraban.

The film got a mixed response from audiences, while people connected with the film world made negative remarks about it.

On 20 March 2012 the writer Imran Hussain stated in the newspaper Amar Asom that the film's story was taken from his 1999 short story Bak. He listed 24 similarities and 3 differences and said about 80 percent of the film came from his story. Dr Santwana Bordoloi supported the statement with a letter in the same paper on 22 March.

In Chandra Mudoi's filmography, Bakor Putek came after Suren Suror Putek (2005) and Chenai Mur Dhulia (2005) and was followed by Soi Gaaor Chompa (2017) and Ronuwa (2021).